Time In Time Out

- ~~**Time In Time Out**~~ - ~~*Playable stories for our wrists*~~ - Atelier Media Design 1 - Master Media Design 2022 - Professors: [[Alexia Mathieu->https://www.hesge.ch/head/annuaire/alexia-mathieu]] & [[Douglas Edric Stanley->http://abstractmachine.net]] - Assistant: [[Nicolas Baldran->https://www.hesge.ch/head/annuaire/nicolas-baldran]], [[Cyrus Khalatbari->https://studio.cyruskhalatbari.com]] - Students: MD1 - Dates: from `19.10.2022` to `18.01.2023` (cf. MD calendar) - Mid-crits: `29.11.2002` and `22.12.2022` - Final jury: `18.01.2022` with external guests <corner>[[Start->Home]]</corner>

- [[Brief]] - [[About Time Devices->About]] - [[Time Shapes->Shapes]] - [[Why do I care?->Why]] - [[Grading]] <corner>[[Time Out]]</corner>

Over the past 10 years, we have been in a complex and intimate relationship with our smartphones. <corner>[[Next->About-Page-Two]] | [[Home]]</corner>

<img class="fullscreen" src="images/page-two-phone.jpg"> <corner>[[Next->About-Page-Three]] | [[Home]]</corner>

“The smartphone is the first object to challenge the house itself (and possibly also the workplace) in terms of the amount of time we dwell in it while awake. We are always ‘at home’ on our smartphones. We have become human snails carrying our home in our pockets.” Professor Daniel Miller, UCL <corner>[[Next->About-Page-Four]] | [[Home]]</corner>

<video autoplay loop src="https://vimeo.com/245474373?embedded=true&source=video_title&owner=933496"></video> <corner>[[Next->About-Page-Five]] | [[Home]]</corner>

<img src="images/page-five-die-with-me.jpg"> <corner>[[Next->About-Page-Six]] | [[Home]]</corner>

Smartphones have become one place for everything, gradually replacing the role of the personal computer. <img src="images/page-six-computer.jpg"> <corner>[[Next->About-Page-Seven]] | [[Home]]</corner>

In the 70s, the personal computer was seen as a way to augment the intellectual abilities of individuals with computer-based technologies. <img src="images/page-seven-apple.jpg"> <corner>[[Next->About-Page-Eight]] | [[Home]]</corner>

Smart Personal Objects SPOT, Microsoft hub, 2002 <img src="images/page-ten-spot.jpg"> <corner>[[Next->About-Page-Eleven]] | [[Home]]</corner>

Fast forward a few decades - since the apparition of digital assistants, and tracking technologies, more and more devices are being added to our homes and our bodies. <img src="images/page-eleven-home.jpg"> <corner>[[Next->About-Page-Twelve]] | [[Home]]</corner>

The next challenge for big corporations is to make the personal network happen - to expand beyond the computer, and beyond the smartphone. <img src="images/page-twelve-personal-network.jpg"> <corner>[[Next->About-Page-Thirteen]] | [[Home]]</corner>

Somehow our wrists have become a coveted place for a future that may never happen. <corner>[[Next->About-Page-Fourteen]] | [[Home]]</corner>

<img src="images/page-fourteen-patent-watch.jpg"> <corner>[[Next->About-Page-Fifteen]] | [[Home]]</corner>

<img src="images/page-fiftenn-hologram-watch.jpg"> <corner>[[Next->About-Page-Sixteen]] | [[Home]]</corner>

What is a wearable? Wearable computers - or simply wearables - “can be anything from small, wristmounted computers to bulky backpack computers” (Billinghurst, 1999). Wearables are portable and worn on one’s person. Wearables can include wrist worn activity trackers, rings, necklaces, shirts, and more. <corner>[[Next->About-Page-Seveteen]] | [[Home]]</corner>

From self-tracking, health monitoring, to social interactions, these new wearables want to cover all aspects of our lives. <corner>[[Next->About-Page-Eighteen]] | [[Home]]</corner>

<img src="images/page-eighteen-watch-interface.jpg"> <corner>[[Next->About-Page-Nineteen]] | [[Home]]</corner>

They also come with a new set of gestures <img src="images/page-nineteen-gestures.jpg"> <corner>[[Next->About-Page-Twenty]] | [[Home]]</corner>

Port 6 - interact with virtual worlds <iframe width="420" height="315" src="https://www.youtube.com/watch?v=wggtWlKqetA&feature=emb_title"> </iframe> <corner>[[Next->About-Page-Twentytwo]] | [[Home]]</corner>

<src="https://twitter.com/boztank/status/1580299226667311106"> <corner>[[Next->About-Page-Twentythree]] | [[Home]]</corner>

Soli - you are the only interface you need <iframe width="420" height="315" src="https://www.youtube.com/watch?v=r-eh2K4HCzI&feature=emb_title"> </iframe> <corner>[[Next->About-Page-Twentyfour]] | [[Home]]</corner>

Finger talk MIT <iframe width="420" height="315" src="https://www.youtube.com/watch?v=3OhUHnoP7ek&feature=emb_title"> </iframe> <corner>[[Next->About-Page-Twentyfive]] | [[Home]]</corner>

Vfluencer and Vtubing <img src="images/page-twenty-five-vfluencer.jpg"> <corner>[[Next->About-Page-Twentysix]] | [[Home]]</corner>

Wearables and especially wrist-devices have been exiting for a long time already - decades before smartphones HP-01 1977 <img src="images/page-twenty-six-hp-1977.jpg"> HP-01 1977 <corner>[[Next->About-Page-Twentysixbis]] | [[Home]]</corner>

Playdate <iframe width="420" height="315" src="https://www.youtube.com/watch?v=HdF3CnFvxg4"> </iframe> <corner>[[Next->About-Page-Twentyseven]] | [[Home]]</corner>

Seiko - data-2000, 1983 <img src="images/page-twenty-seven-seiko-2000.png"> <corner>[[Next->About-Page-Twentyeight]] | [[Home]]</corner>

Trying yet again to materialise the vision for an augmented human - a personal computer around our wrists. Seiko the rupture 1998 <img src="images/page-twenty-eight-Seiko.jpg"> <corner>[[Next->About-Page-Twentynine]] | [[Home]]</corner>

SPH WP 10 1999 <img src="images/page-twenty-nine-SPH.jpg"> <corner>[[Next->About-Page-Thirty]] | [[Home]]</corner>

Steve Mann first smartwatch 1998 <img src="images/page-thrity-steve-mann.png"> <corner>[[Next->About-Page-Thirtyone]] | [[Home]]</corner>

our heroes’ wrists were the icons of space-age futurism Captain Kirk, smartwatch <img src="images/page-thirty-one-start-trek.jpg"> <corner>[[Next->About-Page-Thirtytwo]] | [[Home]]</corner>

the Jetsons <img src="images/page-thirty-two-jestsons.jpg"> <corner>[[Next->About-Page-Thirtythree]] | [[Home]]</corner>

Sailor Moon <img src="images/page-thirty-sailor.jpg"> <corner>[[Next->About-Page-Thirtyfour]] | [[Home]]</corner>

Ultimate spyware <img src="images/page-thirty-four-spy.jpg"> <corner>[[Next->About-Page-Thirtyfive]] | [[Home]]</corner>

<img src="images/page-thirty-six-joy-con.jpg"> <corner>[[Next->About-Page-Thirtyseven]] | [[Home]]</corner>

<img src="images/page-thirty-seven-alt-ctlr.jpg"> <corner>[[Next->About-Page-Thirtyeight]] | [[Home]]</corner>

<img src="images/page-forty-nivose.jpg"> <corner>[[Next->About-Page-Fortyone]] | [[Home]]</corner>

Hyphen Labs <img src="images/page-forty-two-hyphenlabs.jpg"> <corner>[[Next->About-Page-Fortyone-bis]] | [[Home]]</corner>

As interaction designers, we are often task to create future devices, interactions and scenarios. In this project, we will invent our own wrist devices. Trying to imagine new gestures, new ways to interact with them and place them on our bodies. <corner>[[Next->About-Page-Fortytwo]] | [[Home]]</corner>

As a starting point, we will use time as a game mechanism to create the content and the interactions. The result will be a playable story around wrists. <corner>[[Next->About-Page-Fortythree]] | [[Home]]</corner>

We walk around with digital assistants wrapped around our wrists that track our daily activities. <corner>[[Next->Brief-Vitals]]</corner>

Some can even quantify our vitals and tell us when to take a deep breath. <corner>[[Next->Brief-Decades]]</corner>

Decades ago, we wore calculators and gaming devices as high-tech cuffs. <corner>[[Next->Brief-In-Movies]]</corner>

In movies, those wrist-worn techs saved the world once or twice and were the ultimate weapon of spyware. In countless sci-fi stories, our heroes’ wrists were the icons of space-age futurism… <corner>[[Next->Brief-Somehow]]</corner>

Somehow, our wrists have always been a coveted place to materialize a future that may never happen. A playground for quirky, sometimes useful devices. <corner>[[Next->Brief-Need-To-Tell-Time]]</corner>

They started with our need to tell time, now these wearable objects allow us to have access to our data, communicate with others or manipulate virtual environments. <corner>[[Next->Brief-New-Gestures]]</corner>

What types of new gestures could we invent? <corner>[[Next->Brief-Interactions-With-Objects-Body]]</corner>

How can we rethink our interactions with an object and with our body, using time as a game mechanism? How to transform time passing into a playable story? <corner>[[Next->Brief-Playable-Stories]]</corner>

In this atelier, we will create playable stories for our wrists using time as our starting point. We will go about it in four-parts: <corner>[[Next->Brief-Four-Parts]]</corner>

In this atelier, we will create playable stories for our wrists using time as our starting point. We will go about it in four-parts: {reveal link: '1.', text: 'In the first part, we will observe how we relate to time in our daily lives. Looking at Time as an object, we will study how we can use this personal data to tell stories. More broadly, we will also study various important time concepts as well as various time devices throughout history and culture.'} {reveal link: '2.', text: 'In the second part, we will study game mechanics, interactive narrations and alternative controllers to expand our definition of what is an interaction and its relation to our body. From these lessons, we will use what we’ve learned and our daily observations to create scenarios and early concepts.'} {reveal link: '3.', text: 'The third part will focus on the iterative and prototyping process, using simple materials such as cardboard and paper, we will prototype our first concepts and ideas. These first ideas will be then tested with MD2 students and guests.'} {reveal link: '4.', text: 'The fourth part will be the final prototyping stage and will be articulated with the Electronics Laboratory. We will learn how to translate an interactive concept into technical plans, circuits and 3D models. We will discover various production possibilities and make our final playable story!'} <corner>[[Next->Brief-Result]]</corner>

The result will be a collection of playful stories to wear and play around the wrist. <corner>[[Home]]</corner>

How will I be evaluated? The final evaluation will be done during a final jury with external guests. - 20% active participation in class and collective conversations - 30% quality of research, insights, documentation and methodology - 30% quality of your final prototypes (scale 1:1 and scale 1:X) - 20% final presentation quality (PDF document and oral presentation) <corner>[[Home]]</corner>

- To be, or not to be, that is the question: - {reveal link: '…', text: 'Whether ‘tis nobler in the mind to suffer'} - {reveal link: '…', text: 'The slings and arrows of outrageous fortune,'} - {reveal link: '…', text: 'Or to take arms against a sea of troubles'} - {reveal link: '…', text: 'And by opposing end them. To die—to sleep,'} - {reveal link: '…', text: 'No more; and by a sleep to say we end'} - {reveal link: '…', text: 'The heart-ache and the thousand natural shocks'} - {reveal link: '…', text: 'That flesh is heir to: ‘tis a consummation'} - {reveal link: '…', text: 'Devoutly to be wish‘d. To die, to sleep;'} - {reveal link: '…', text: 'To sleep, perchance to dream—ay, there‘s the rub:'} - {reveal link: '…', text: 'For in that sleep of death what dreams may come,'} - {reveal link: '…', text: 'When we have shuffled off this mortal coil,'} - {reveal link: '…', text: 'Must give us pause—'} {reveal link: '…', text: 'Hamlet, Shakespeare, 1603'} <image class="fullscreen" src="images/coil-of-rope.png"> <corner>[[Next->Shapes-Mortal-Coil-Game]] | [[Time Shapes->Shapes]]</corner>

<video autoplay loop class="letterbox" src="videos/night-in-the-woods.mp4"> <corner>Night in the Woods, Infinite Fall, 2017 | [[Time Shapes->Shapes]]</corner>

Understanding Heidegger's philosophy of death hinges upon understanding the following key terms, phrases and distinctions: - (i) Being-at-an-end/Being-towards-an-end - (ii) Ownmost, non-relational, and not to be outstripped - (iii) They-self/authentic self, falling/fleeing in the face of death, anxiety/fear, potentiality-for-Being: authentic/inauthentic; - (iv) inauthentic-Being-towards-death/authentic-Being-towards-death (cf. Gerede, noisiness, bavardage); and - (v) freedom twoards death – Heidegger's Philosophy of Death, Diane Zorn Game : Journey, That Game Company, 2012 <corner>[[Time Shapes->Shapes]]</corner>

E = mc² Game : Superhot <corner>[[Time Shapes->Shapes]]</corner>

Real-Time definition <corner>[[Time Shapes->Shapes]]</corner>

Definition of Slow Real Time by the Plot research group. La lenteur en temps réel. Game: Lifeline <corner>[[Time Shapes->Shapes]]</corner>

Something about the sucre de Bergson / Duration / sucre qui fond / Lifeline <corner>[[Time Shapes->Shapes]]</corner>

Chronological time / Chronological / tic toc / Discretisation <corner>[[Time Shapes->Shapes]]</corner>

<img src="images/david-hume-time.png"> <corner>David Hume, Treatise of Human Nature, 1739 | [[Lesson->Shapes-Retension-Sound-Of-Music]] | [[Time Shapes->Shapes]]</corner>

<corner>The Sound of Music, Robert Wise, 1965 | [[Next->Shapes-Retention-Perception-Of-Sound]] | [[Time Shapes->Shapes]]</corner> <video autoplay class="letterbox" src="videos/sound-of-music-do-rae-me.mp4">

The perception of the sound {reveal link: '…', text: 'in the perception’s ever new now is not a mere having of the sound, even of the sound in the now-phase.'} {reveal link: '…', text: 'On the contrary, we find in each now, in addition to the actual physical content, an adumbration.'} {reveal link: '…', text: 'If we focus reflectively on what is presently given in the actually present now with respect to the sound of the postilion’s horn'}{reveal link: ',', text: ', or the rumbling of the coach'}{reveal link: ',', text: ', and if we reflect on it just as it is given'}{reveal link: ',', text: ', then we note the trail of memory that extends the now-point of the sound or of the rumbling.'} {reveal link: '…', text: 'This reflection makes it evident that the immanent thing could not be given in its unity at all if the perceptual consciousness did not also encompass, along with the point of actually present sensation, the continuity of fading phases that pertain to the sensations belonging to earlier nows.'} {reveal link: '…', text: 'Edmund Husserl, On the Phenomenology of the Consciousness of Internal Time, 1893–1917'} <corner>[[Next->Shapes-Retention-Impression-Protension]] | [[Time Shapes->Shapes]]</corner>

At the heart of Husserl’s account is a dynamic tri-partite view of the composition of consciousness at any instant. The three components are: primal **impressions**, **retentions**, **protentions**. {reveal link: '1.', text: 'Primal **impressions** are the live, actual experiences that occupy the momentary now. No sooner does a primal impression – e.g., a momentary tone-phase – occur than it slips seamlessly into the past. '} {reveal link: '2.', text: 'But it does not vanish from consciousness altogether: it survives in the form of a **retention**, which presents it as past.'} {reveal link: '…', text: 'For Husserl, retentions are a quite distinctive form of consciousness, and differ significantly from ordinary memories: these are the ‘*adumbrations*’. As new primal impressions dawn – as they gush forth from the *primal source-point of the now* – the initial tone-phase continues to be **retained**, but as increasingly more past, until it fades from consciousness altogether.'} {reveal link: '…', text: 'From then on, it can only be accessed through ordinary memory.'} {reveal link: '3.', text: 'As for **protentions**, these are the *future-oriented counterparts of retentions*. In some cases – e.g., when we are perceiving or remembering a familiar sequence of events – they can be quite detailed, but often they consist of nothing more than an openness to the future, an expectation that something will come.'} {reveal link: '-', text: '— Temporal Consciousness, cf. plato.stanford.edu'} <corner>[[Sound Voyager->Shapes-Retention-Sound-Voyager-Trailer]] | [[Time Shapes->Shapes]]</corner>

<corner>bit Generations: Soundvoyager, Nintendo, 2006 | [[Playthrough->Shapes-Retention-Sound-Voyager-Demo]] | [[Time Shapes->Shapes]]</corner> <video autoplay loop src="videos/sound-voyager-trailer.mp4">

<corner>bit Generations: Soundvoyager, Nintendo, 2006 | [[Time Shapes->Shapes]]</corner> <video autoplay loop src="videos/sound-voyager-gameplay.mp4">

Intro about Elastic Time <corner>[[Time Shapes->Shapes]]</corner>

Something else about Elastic Time <corner>[[Time Shapes->Shapes]]</corner>

Conclusion about Elastic Time <corner>[[Time Shapes->Shapes]]</corner>

<corner> Patton Oswalt, We All Scream, 2022 | [[Next->Shapes-Poop-Tamagochi]] | [[Time Shapes->Shapes]]</corner> <video autoplay class="letterbox" src="videos/patton-oswalt-poop.mp4">

<corner>Tamagochi | [[Time Shapes->Shapes]]</corner> <video autoplay loop class="vertical" src="videos/tamagotchi-poop.mp4">

<corner>Groundhog Day, Harold Ramis, 1993 | [[Next->Shapes-Loop-Everyday-The-Same-Dream]] | [[Time Shapes->Shapes]]</corner> <video autoplay loop class="letterbox" src="videos/groundhog-day.mp4">

<corner>Everyday The Same Dream, Molleindustria, December 2009 | [[Time Shapes->Shapes]]</corner> <video autoplay loop class="letterbox" src="videos/everyday-same-dream.mp4">

<corner>Tuttuki Bako, Virtual finger, Bandai | [[Time Out]]</corner> <video autoplay loop src="videos/tuttuki-bako.mp4">

<corner>In Time, Andrew Niccol, 1991 | [[Time Out]]</corner> <video class="letterbox" autoplay src="videos/in-time.mp4">

<video autoplay loop src="videos/my-exercise.mp4"></video> <corner>My exercise, Playables, Mario von Rickenbach and Michael Frei | [[Time Out]]</corner>

<video autoplay loop src="https://www.youtube.com/watch?v=LehoxwX3llo"></video> <corner>Lifeline, Three Minute Games | [[Time Out]]</corner>

<video autoplay loop src="https://www.youtube.com/watch?v=P_gdO_-k_hs"></video> <corner>Everyday the same dream, Silvergames | [[Time Out]]</corner>

<img class="fullscreen" src="images/Time-Out-Hermes.jpg"> <corner>Hermès, Temps suspendu | [[Time Out]]</corner>

<a href="https://possiblebodies.constantvzw.org/inventory/?078">Carrier bag theory of fiction</a> <corner>Ursula K. Le Guin, Carrier bag theory of fiction | [[Time Out]]</corner>

<a href="https://www.instructables.com/Turn-an-Old-Cell-Phone-Into-a-Smartwatch/">DIY</a> <corner>Turn an old cell phone into a smartwatch | [[Time Out]]</corner>

<img src="images/GPS120.jpg"> <a href="https://www.cnet.com/culture/a-gps-device-from-the-1920s/"></a> <corner>1927 Plus Four Wristlet Route Indicator | [[Time Out]]</corner>

<img class="fullscreen" src="images/Seiko-TV-Watch.jpg"> <corner>1982 Seiko TV Watch | [[Time Out]]</corner>

<img class="fullscreen" src="images/Steve-Mann.jpg"> <corner>Just Steve Mann | [[Time Out]]</corner>

<img class="fullscreen" src="images/Thumb.jpg"> <corner>Thumb, Dani Clode | [[Time Out]]</corner>

What (the @#%*) is this? This module focuses on playable stories and their potential to create new forms of interactions with interfaces, virtual environments and objects. Throughout this semester, you will learn how to lead an interactive project from its conceptual phase to its final form. <corner>[[Next->Why-Electronique]] | [[Home]]</corner>

This module is articulated with Laboratoire Electronique: this means that you will be able to create a functional interactive experience. <corner>[[Next->Why-What]] | [[Home]]</corner>

What are we going to learn? This project will be the opportunity for you to discover and master the process of creating an interactive project from its conceptual stage to its final prototype form. Note: this atelier is done in collaboration avec Laboratoire Électronique. Throughout the process you will learn: How to manage a project in the field of interaction design (methodology, documentation, ideation and final presentations) The fundamentals of an interactive project (how to conduct observations, interviews, user testing and creation of a user journey, prototyping) The fundamentals of interactive narration (narration prototyping tools) <corner>[[Home]]</corner>